Looking to buy a dual wireless mic kit

You can't go wrong with a G3 system and they will hold their value if you chose to sell them in the future, the sony system is also very good but as stated you need to look at how they are mounted on your camera.

I use a large ENG style camera so I just clip mine to the portabrace case that covers the V lock battery but the sennheisers may also come with some plastic plates that can be fixed to a rail via their cold show type locking adaptors.
 
Sony UWP-D Dual wireless microphone receiver with audio mixer

Sony UWP-D Dual wireless microphone receiver with audio mixer

OzGizmo said:
How are you going to attach the 2 receiver units to your camera? Have a look at the new Sony UWP-D systems, ...
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Very good question. Is there a portable wireless dual receiver audio mixer in the Sony UWP-D system? I have a LD Roadboy portable PA system http://www.ld-systems.com/en/battery-powered-pa-speakers/roadboy-65-portable-pa-speaker/ with two wirelss receivers.
If I'd go for UWP-D, could I simply glue/rubberband/tape together the two UWP-D receivers? It woud be getting quite cumbersome; what would be the neat/official solution for handling/combining two wireless microphones?

EDIT: In the meantime I figured out. I'd need
(o) 2 packs of UWP-D11, D12 or similar kits conaining the micropnes and the receivers, $600 each
(o) 2 sets of LCS-URXP3 soft case ($60) for the receiver, SMAD-P2 ($20) or -V1 ($40) shoe/V-shoe mount adapters for the soft case.
(o) 1 camera cage to mount the two receivers in their soft cases ($100 - $300)
(o) 1 kit of XLR-K1M ($800) to receive the XLR cables from the two receivers.
If I had a pro camera with two XLR inputs (FS100, X70), no need for the XLR-K1M.
Total cost $2200 or $1400 (if I had an NX30, for exampe) without the cage price.
 
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OzGizmo said:
Have a look at the new Sony UWP-D systems, they seem to be taking over from the G3 systems by pro / semi pro users of radio mics.
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According to whom? The G3 keeps getting top recommendation everywhere I look. Most rental houses carry the G3, not the Sony.

On a personal note, I put the G3 and the UWP-D side-by-side. There really was no close comparison. The UWP-D is, while cleaner than its predecessor, still noisy. The XLR plug-on transmitter from the UWP-D is terribly weak with dynamic mics (useful only with phantom-powered condensers, and even then it was no match for the G3). In a range test in an open field, line-of-sight, the G3 held solid for nearly 250ft. The Sony started dropping out at 50ft.
 
OzGizmo said:
the new Sony UWP-D systems seem to be taking over from the G3 systems by pro / semi pro users of radio mics.
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Yes, where did you hear that?
In a couple of the shoot-outs where the Sony outperformed the Sennheiser was purely luck done by amateurs, as both systems were 'out of the box' w/o proper frequency selection.. (I recommend an external scanner for RF populated environments).
In either case, another few hundred $$ should be factored in for pro quality mics. The bugled mics are only suitable for back-up or sacrifice IMO.
 
The G3 a good system. Go with it.

Many people aren't too keen on the microphone itself. It will do the job, but many replace it with something else. Everyone has their favorites. I prefer the Tram TR-50 for many uses. Other popular lavs are the OST 802 (Tram clone, but much cheaper price), and the Sanken COS-11D. Check threads in this forum for lavalier shootouts and discussion on lavaliers.
 
Thank you everyone for all the responses. You guys are great.
I realize the Sennheiser system requires two receivers if using two transmitters, unlike my Azden which has a dual receiver (which was convenient). I was hoping to mount the receivers to the camera via either a vello dual cold shoe adapter or a rycote cold shoe bar that allows for more than one device. It will add more bulk but I don't know what else to do. Thank you for the mic suggestions as well.
 
In the City I work in 3 out of 4 broadcast networks have gone Sony radio mics and a lot of location guys have done the same.
I will admit that most of the the TV networks are very biased toward Sony gear. And yes most hire companies have G3's mainly because they were the first diversity at a reasonable price at the time, and why would they ditch them to go Sony?
The Sony UWP-D system has opened up the option (at a low cost) of wireless booms and wireless phantom powered mics for many lower cost production units, I will admit it feels SO good to walk into an interviews and go fully wireless with overhead Hypercardiod mics.
Yes Sennheiser have a plug on Tx unit that delivers phantom power but it cost almost as much as the entire Sony system.
Range of transmission has never been a critical factor for me (although nice) I would much prefer a system that will handle 'Line' level easily, run phantom powered mics etc. Most shoots I do are normally close range perhaps 5-20m maximum.
 
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